Phantom Galleries LA
eros/thanatos Curated by Tricia Lawless Murray
eros/thanatos
Curated by Tricia Lawless Murray
Project coordinator Stephanie Allespach
Participating Eros/ thanatos Artists
Marc Adelman, Stephanie Allespach, Nancy Buchanan, Carolyn Castaño, Krista Chael, Victor Cobo, Anne Colvin, Catherine Daly, Adrienne Fernandez, Amber Fox, Phyllis Green, Jason Hanasik, Evah Hart, Micol Hebron, Elise Irving, Zsolt Kadar, Ellina Kevorkian, Ali Kyeradyar, Tricia Lawless Murray, Elizabeth Looke-Stewart, Leigh McCarthy, Lucas Michael, Museum of Viral Memory, Claudia Parducci, Christopher Picon, Nancy Popp, Joseph Roseberry, Jessica Rosen, Amy Sampson, Pascal Shirley, Jessica Skloven, David Sotelo, Felis Stella, Casey Stroud, Karen Stuke
Contact:
TriciaLawlessMurray.com
Allespach.com
e_ros
—noun
1. In psychoanalytic theory, the sum of all instincts for self-preservation.
2. sexual drive; libido.
than_a_tos
—noun
Psychoanalysis. (usually lowercase) the death instinct, esp. as expressed in violent aggression.
Last Summer HK Zamani approached me about showing my work in his September Kamikaze Shows at Pøst, a gallery space located within my studio building. I took it as an opportunity to put together a group show based on the themes that frequently appear in my work: Eros/Thanatos, or the life and death drives that Freud associated with desire.
More recently these drives have been reassessed and resurrected by Teresa De Lauretis in her book Freud’s Drives: Psychoanalysis, Literature and Film, in which she applies concrete interpretations of these elusively abstract drives to current literature and film. She suggests that these drives, which are premised upon the coexistence of conflicting life and death drives, offer a model of contemporary subjectivity that enables “survival” through the “gnawing, dull pain of betrayal.” It is as if one end is constantly in contest with its opposite to make way for a different, if not difficult, compromised reality.
As a self-professed feminist I have had to come to terms with the dogma that once invigorated and conversely bound me. What I find in Freud’s drives is a (permeable) model that contains within itself the mechanism for its preservation and its unraveling or undoing. This process is apparent in the competing and sometimes conflicting elements that comprise Eros/Thanatos, and which for me is the quintessential representation of desire.
Tricia Lawless Murray
eros/thanatos Curated by Tricia Lawless Murray
eros/thanatos
Curated by Tricia Lawless Murray
Project coordinator Stephanie Allespach
Participating Eros/ thanatos Artists
Marc Adelman, Stephanie Allespach, Nancy Buchanan, Carolyn Castaño, Krista Chael, Victor Cobo, Anne Colvin, Catherine Daly, Adrienne Fernandez, Amber Fox, Phyllis Green, Jason Hanasik, Evah Hart, Micol Hebron, Elise Irving, Zsolt Kadar, Ellina Kevorkian, Ali Kyeradyar, Tricia Lawless Murray, Elizabeth Looke-Stewart, Leigh McCarthy, Lucas Michael, Museum of Viral Memory, Claudia Parducci, Christopher Picon, Nancy Popp, Joseph Roseberry, Jessica Rosen, Amy Sampson, Pascal Shirley, Jessica Skloven, David Sotelo, Felis Stella, Casey Stroud, Karen Stuke
Contact:
TriciaLawlessMurray.com
Allespach.com
e_ros
—noun
1. In psychoanalytic theory, the sum of all instincts for self-preservation.
2. sexual drive; libido.
than_a_tos
—noun
Psychoanalysis. (usually lowercase) the death instinct, esp. as expressed in violent aggression.
Last Summer HK Zamani approached me about showing my work in his September Kamikaze Shows at Pøst, a gallery space located within my studio building. I took it as an opportunity to put together a group show based on the themes that frequently appear in my work: Eros/Thanatos, or the life and death drives that Freud associated with desire.
More recently these drives have been reassessed and resurrected by Teresa De Lauretis in her book Freud’s Drives: Psychoanalysis, Literature and Film, in which she applies concrete interpretations of these elusively abstract drives to current literature and film. She suggests that these drives, which are premised upon the coexistence of conflicting life and death drives, offer a model of contemporary subjectivity that enables “survival” through the “gnawing, dull pain of betrayal.” It is as if one end is constantly in contest with its opposite to make way for a different, if not difficult, compromised reality.
As a self-professed feminist I have had to come to terms with the dogma that once invigorated and conversely bound me. What I find in Freud’s drives is a (permeable) model that contains within itself the mechanism for its preservation and its unraveling or undoing. This process is apparent in the competing and sometimes conflicting elements that comprise Eros/Thanatos, and which for me is the quintessential representation of desire.
Tricia Lawless Murray